The Evolution of Music Libraries

The Evolution of Music Libraries: The Pre 1960s Origins of Production Music for Film, Radio, TV, and Commercials.

 

Introduction

 

Music libraries, also known as production music libraries, are essential resources for film, television, and radio producers. These libraries contain vast catalogues of pre-recorded tracks available for licensing, enabling content creators to enhance their projects with high quality music without needing a custom score. Before the 1960s, music libraries played a foundational role in shaping the media landscape, providing cost effective, accessible music that allowed creators to add atmosphere, emotion, and drama to their productions.

 

In this article, we’ll explore the origins of music libraries, how production music developed for early media, and how it became a valuable asset for radio and the early years of television. Focusing on the pre 1960s era, we’ll look at how pioneering production music libraries like De Wolfe, Boosey & Hawkes, and Chappell Music set the stage for the modern music licensing industry. Props from 560 Music to these early libraries.

 1. Early Beginnings: Music Libraries in Silent Cinema and Sheet Music Collections

 

The history of music libraries begins with silent cinema in the early 20th century, when films were shown without synchronised soundtracks. In place of recorded sound, theatres relied on live musicians to perform music that fit the emotions and action on screen. Recognising a need, some publishers began compiling music catalogues—collections of sheet music organised by mood and scenario. These early "silent film music libraries" allowed theatre musicians to quickly select music that would match the tone of any scene, marking the first steps in the music library industry.

 

Companies such as Edison Music and Sam Fox Publishing produced these early catalogues, often called "mood music libraries" or "cue based music collections," which offered versatile, ready to use sheet music. Musicians no longer needed to improvise for every film; instead, they could rely on preselected compositions that captured common film moods like suspense, romance, or comedy. This sheet music library approach influenced the development of later production music catalogues, with the same focus on offering flexible and usable music for specific scenes.

 

2. The Birth of Recorded Production Music Libraries for Sound Films (1920s – 1930’s)

 

With the introduction of sound films in the 1920s, known as "talkies," the demand for pre-recorded music tracks grew. The 1927 film The Jazz Singer is commonly credited as being the first 'talkie'. This technological advancement created new opportunities for music libraries to supply background music directly to film studios. Instead of paying for original scores, smaller studios turned to production music libraries for an affordable, efficient solution to add soundtracks to their films.

 

Pioneering companies like De Wolfe Music (founded 1909), based in London, were among the first to produce recorded music libraries specifically for film. By categorising music based on genres, moods, and scenes, these libraries offered a wide array of high quality tracks that filmmakers could license and incorporate into their productions. De Wolfe's extensive catalogue soon became a valuable resource for studios, making the company a leader in the emerging production music industry.

 

Music libraries like De Wolfe played a crucial role in standardising the process of music licensing and the organisation of tracks by mood, genre, or scene type. This approach allowed filmmakers to find appropriate music for any situation, while also providing an affordable alternative to custom music scores.

 

3. The Rise of Production Music in Radio (1930s-1940s)

 

As radio broadcasting rose in popularity during the 1930s and 1940s, music libraries became essential resources for radio producers, who needed cost effective background music for a variety of programs. Radio stations often used production music to enhance the storytelling in dramas, comedies, and suspense series, relying on pre-recorded music tracks to create the right atmosphere.

 

Library music companies began creating specialised music for radio, producing versatile tracks that could easily fit into different types of programming. For example, upbeat swing tracks often signalled light hearted scenes, while dark orchestral music was used to build suspense. By the late 1930s, major production music libraries such as Boosey & Hawkes and Chappell Music had expanded their catalogues to include music for radio, setting standards for quality and accessibility that defined the music licensing industry.

 

This expansion of music libraries also established musical tropes that became widely recognised by radio listeners. Certain sounds, such as the ominous tremolo strings for suspense or lively brass for comedy, became instantly associated with specific moods, and these audio cues have since become hallmarks of production music.

 

4. Early Television and the Growth of Production Music Libraries (1940s-1950s)

 

With the emergence of television in the late 1940s, production music libraries found new avenues for growth. Television studios required extensive amounts of background music, often on tight budgets. Rather than commissioning new scores, many producers turned to music libraries, where they could license pre-recorded tracks suited for a wide variety of programming, from drama and comedy to news and children’s shows.

 

During the 1950s, library music companies began tailoring their catalogues specifically for television, recording music that would be relevant for different show formats. In the UK, KPM Music—a subsidiary of Keith Prowse Music—entered the production music market with its now iconic "Green Label" series. Featuring original compositions by talented musicians, this catalogue became a major resource for television producers, who could rely on its quality and versatility to match a variety of scenes.

 

The impact of library music on early television cannot be overstated. It allowed television producers to elevate their productions with professional grade music, even on limited budgets. Classic shows used library music for everything from opening credits to background ambiance, establishing a legacy for production music libraries as reliable and essential assets for TV. Additionally, television’s demand for library music gave rise to some of the most enduring pieces in production music history, as certain themes and motifs became synonymous with specific genres or show types.

 

5. The Unique Characteristics of Pre 1960s Music Libraries and Their Cultural Influence

 

Music libraries before the 1960s had a distinct sound and style that reflected the recording technology and popular genres of the time. Designed for flexibility, most library tracks were instrumental, allowing for easy adaptation across different types of media. Pieces were often recorded in short, concise formats, suitable for quick cuts, transitions, or background scoring, with the intention that producers could loop or splice them as needed.

 

The influence of pre 1960s music libraries on popular culture is undeniable. Certain compositions became iconic through repeated use in film, radio, and TV, creating a recognisable "sound" for media of the era. For example, KPM’s Green Label series, which featured composers like Alan Hawkshaw and Keith Mansfield, became emblematic of 1950s and 1960s television themes. Similarly, the soundtracks produced by Boosey & Hawkes and De Wolfe contributed to a nostalgic atmosphere still recognised today.

 

Even as production music libraries evolved, the contributions of these early tracks continue to be celebrated. Many of these recordings have been reissued on vinyl or digital formats, preserving the legacy of classic production music and sparking interest among modern audiences and collectors.

 

 Conclusion

 

The history of music libraries before the 1960s reveals the foundational role that production music played in shaping film, radio, television and commercials. These early libraries provided accessible, high quality music for creators, allowing them to elevate their productions without the cost of bespoke compositions. Pioneers like De Wolfe, Boosey & Hawkes, and KPM Music set the standard for music libraries, categorising tracks by mood, scene type, and genre, making it easy for producers to find the perfect music for any project.

 

From silent cinema's cue based sheet music to the classic TV themes of the 1950s, music libraries have left a lasting impact on media. Their catalogues gave rise to some of the most iconic sounds of early entertainment and established production music as an invaluable resource for creators. Today, we can trace the success of modern music licensing companies back to these early library pioneers, whose dedication to quality and versatility laid the groundwork for the production music industry we know today. 560 Music is proud to serve the UK Creative Industries with high quality music and expert service and innovation, and we doff our cap to those early pioneers.

 

By focusing on the pre 1960s history of music libraries, we see not only their evolution but also their enduring legacy—one that continues to resonate with audiences and enrich content across the world.

 

560 Music is a London based boutique music library, focused on serving the UK Creative Industries. 560 Music is the home of Made Up Music - founded by Ray Russell (Ray strummed the Bond theme, you've heard him!).

560 Music offers a full music service, High Quality Library, Bespoke / Custom Music, Sonic Branding, Expert Music Search Support, Music Replacement, Music Cue Sheet Management.

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